BE FASHION WINTER 2015
be Photographs by CJ Moy
BE
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STAFF
JENNIFER MOK editor-in-chief creative director CARLY ROBB
assistant editor-in-cheif
EDITORIAL DEVON DANISIUS GABBY GOTTSCHALL LAURA YOO LAUREN WESSAN MORGAN CAMERIK NICOLE ADAMS contributing editors
PRODUCTION
PUBLIC RELATIONS
MIA KAMISAR production manager & layout editor
AMANDA CARLSON SVEVA MARCANGELI directors of marketing & public relations
AVID KHORRAMIAN EMMA HALPER MORGAN KRAUSE LENA PERLMUTTER layout team
PHOTOGRAPHY
ABBIE STONE ALYSSA MCANDREW AMANDA PIRRI ANABELLE FLORIO CAT CLEMENTS DANNAH STRAUSS ELLIE FRANKO EMILY COSTANTINO EMILY OPPENHEIMER JENNA LOCHIATTO JOANNA HARROLD KATARINA THALLNER KATHRYN HARMON KENDALL O’BRIEN MORGAN MALVISI PHOEBE CUSH marketing/PR team
FASHION
ALI NAPOLI head photographer
BRYNN MAISEL fashion editor
ANDREW STEP CJ MOY COLIN LIND EMMA SHEEHY MARGARET ODELL SEAN GILCHRIST contributing photographers
ALEX SILVERMAN CAROLINE HABER COLE DIRUSSA HEATHER MABIE LENA MISKULIN LILY ROBINSON LOUISE RAHR SARAH ROSECKY fashion team
SARAH ROSECKY ALEX SILVERMAN fashion assistants & hair and makeup
CONNIE TIMM advisor
YANG GAO treasurer
Be is a student-run fashion magazine at Bucknell University in Lewisburg, PA. Be circulates two editions per academic year: Winter and Spring editions. Involvement in Be is open to all undergraduate students and we are always looking for new members. Follow us on Facebook: Be Fashion Magazine & Instagram @befashionbucknell
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table of
contents
07 12 18 22 24 4
The Buzz
Devon Danisius
Trend Report
Jen Mok
ECOture Carly Robb
Instafamous Jen Mok
In The Streets Gabby Gottschall
28 30 32 42 44
Well Suited Nicole Adams
#Normcore
Devon Danisius
Confessions of a Zaraholic Nicole Adams
Out With the Old
Lauren Wessan
A Question of Luxury Laura Yoo
letter from THE EDITOR
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We talk about it all the time. How the Bucknell girls are all in uniform: brown boots, black leggings, oversized sweater, and Barbour jackets. How there will always be at least two girls wearing similar outfits. The boys are not exempt from this homogeneity, sporting Sperry boat shoes, khakis, and Patagonia sweatshirts. Fashion within the “Bucknell bubble” is confined to the limited number of brands known to the majority student community. The explosion of fashion bloggers and personalities on social media platforms (see instafamous) has further standardized the way in which people perceive and interact with fashion. However, if you look into the streets of any city and you’ll see an array of fashions that are bold, exciting, and unique. We, here at Be Fashion, want to challenge the Bucknell campus to adopt the expressive culture of the streets – to strut around the campus with a inimitable style that is true to you and that doesn’t compromise to the preppy norms. We want to push the boundaries and to force you, as well as ourselves, to revisit our approach to fashion (see Normcore: Misguided or Insighted?), to think beyond the norms, to stand out, and to change perspectives. Fashion is more than the materialistic fabrics that adorn our bodies. It is an art form that explores societal concerns like gender (see Well Suited) and raises awareness to worldwide issues like sustainability (see ECOuture). Yet, while fashion is still regarded as one of the leading industries for creative individuals to showcase their talents, there are familiar growing concerns over the recent lack of originality and consistent recycling of fashions (see Out With the Old, In With the…Old). Moreover, more than just an art culture, fashion, specifically luxury fashion has transformed into a corporatized business, dominated by major companies and conglomerates like LVMH (see A Question of Luxury). At large, fashion as a whole has changed immensely over the years but the infatuation remains the same. This issue marks a new beginning for Be Fashion Magazine. While the publication has been long an underdog, created by a passionate few, this season is a turning point. We are larger in number, and louder than ever. Be Fashion is here to open the minds and eyes of the Bucknell community. But don’t let me tell you that. Have a look for yourself. XX,
Jennifer Mok 5
PRODUCT Holy moly it’s Tony Moly! This South Korean cosmetics brand has been blowing up since 2006. This company guarantees skincare products that contain organic ingredients sans the use of animal testing. The packaging is half the fun. Your hand cream will come in an orange shaped container and blackhead removing gel in an egg. You can find these unique, cheeky, and reliable products in the Urban Outfitter’s beauty department.
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ARIST If you haven’t heard anything off of MisterWives’ most recent EP, get to listening. Reflections features an artful blend of seemingly disparate genres in a harmonious collection of songs. The beats will have you bobbing along and you will soon be attempting to match their distinct tone and pronunciation. The enjoyable six tracks on the EP comprise the ideal homework soundtrack.
THE BE BUZZ
HAIRCUT Searching for the perfect haircut this season? Look no further. The polarized options of the short bob or long locks are no more. Opt for the long-bob look of Alexa Chung and Kerry Washington. With the “lob” you will still have the versatility of long hair with the edginess and manageability of a bob.
ACCESSORY For a simple yet intricate piece that goes with any outfit, try this Arch & Needles Necklace by Datter Industries. It’s dainty but still makes a statement. We love its layering possibilities!
(BOOK TURNED) MOVIE Gone Girl, a 2014 mystery film adapted from Gillian Flynn’s 2012 novel, is a must see. This star-studded film features Ben Affleck as the husband of a missing woman and suspect in the case of her disappearance. This suspenseful film touches upon themes of dishonesty, false appearances, and the effects of media frenzy. It is definitely one to watch this season.
BOOK If you are searching for something light yet inspirational to read, pick up a copy of #GIRLBOSS. This bestseller by Sophia Amoruso, CEO of Nasty Gal, empowers women through her own anecdotes and career journey. This witty, playful cross between a memoir and an advice book makes learning about business fun and pleasant.
Devon Daniusis 7
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LUSTFUL LIPS Photographs by Andrew Step Models: Lexi Meister & Brooke Decker
Red lips: MAC Russian Red Lipstick, MAC Cherry Lip Pencil Light Glossy Lips: Caramel Comfort by L’OREAL Colour Riche Lip Balm, MAC Good Lovin’ Lipglass Dark Glossy Lips: MAC Diva Lipstick, Clinique Black Honey, Chanel Gloss Deep Red Lips: MAC Diva Lipstick, MAC Vino Lip Pencil 8
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Everyone’s favorite, detailed vintage pieces meet modern trends to amp up your holiday ensemble.
Earrings & Ring: Wilson Ross
Necklace: Wilson Ross
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Purse & Necklace Betty’s
Earrings: Wilson Ross
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WINTER
TRENDREPORT
The over-sized blanket coat is deceptively simple. The relaxed structure is often coupled with asymmetrical hemlines, bold patterns, and rich textures allowing for versatile silhouettes that flatter any woman’s body.
by Jennifer Mok
The sharp, crisp tailored look is no longer reserved for menswear. This season, designers experimented with architectural silhouettes that no longer confine the female body to the hourglass figure. The new women’s suit and pant look encourages a more relaxed, unstructured yet composed approach to everyday dressing.
This season, shearling overshadowed the traditional favorite furs of the fall/winter collections. The luxurious fleece adds a playful element of texture to any outfit. Incorporate the trend to your daily look with shearling-lined boots, bomber jackets, or even bags.
ANDROGYNOUS
BLANKET COATS 12
SHEARLING
TRENDREPORT MAN SKIRTS
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JAMES DEAN Gender bending continues with the onset of man skirts on the runway. The lengths of these variations of the traditional dress provoke questions of gender boundaries and the meaning of masculinity today. This trend starkly contrasts the more formfitting street style, giving men the opportunity to also experiment with a less structured form.
Grooming is a skill and a trend. Male models looked incredibly fresh with their clean-cut and shaven looks. They channel the likes of the iconic James Dean but a bit more slick and a bit more dangerous.
The three-button suit made a comeback. Fitting with the overall trend of minimalism, the suit has simple underpinnings and no tie.
Photos courtesey of Style.com 13
Photographs by Ali Napoli Fashion Director: Brynn Maisel Hair & Makeup by Sarah Rosecky
All clothes: Dwellings, Retrah & Wilson Ross Models: Lena Miskulin, Tom Lukow, Kiera McGee & Tim Howard
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ECOuture
S
inger and fashion icon Pharrell Williams gives us all a new reason to be happy. As curator of “Raw for the Oceans,� Williams has collaborated with G-Star Raw and Bionic Yarn to remove ocean trash and transform the recyclables into thread for denim. His sustainable textile collection not only removes harmful plastics that are damaging the oceans, but also creates stylish, comfortable, and inspiring consumer products.
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Shifting towards the goal of sustainability involves adjusting human behaviors and lifestyles. Unfortunately, we as humans have difficulty changing our ways, especially if it is for something “so far” in the future. Yet, the future is now. Since the Industrial Revolution, global temperatures have risen by about .75°C, the concentrations of fossil fuels have risen from about 280 ppm to 380 ppm, and the sea level has risen about 8 inches. As global citizens, we have the responsibility to address the problems of climate change, yet many of us have difficulty disaggregating from our normal routines. Many people still believe that the effects of climate change are problems our great, great grandchildren will face. Experts disagree – it will happen much sooner than we think. Luckily, Williams is taking this into consideration, avoiding the tragedy of the commons, and making a change – a change that we can easily help with just a swipe of our credit cards. Williams’ street wear label hit the runway of New York Fashion Week the beginning of September. At his launch event months prior, he stated to Women’s Wear Daily: “Fashion is certainly a huge part of everybody’s lives. You wear it every day and for some people it’s a status symbol, or a statement of how much they have spent on clothes, or it’s a means of expressing their identity and who they are.” Williams wants people to express how they can be a universal player in protecting the planet through fashion. He believes governments are too slow to take action on protecting the ocean. Therefore, Williams is trying a different strategy to address environmental problems. Williams
knows everyone has jeans in their closet and asks us to “push the boundaries of denim forward… [and] show the world what Bionic Yarn can do.” Wearing recyclables is a simple way to start. Williams isn’t the only one involved in environmentally friendly fashion. Label Stella McCartney acknowledges in the company’s mission statement. “it is our responsibility to do what we can to become more sustainable.” Her eco-friendly products include bathing suits, handbags, and shoes. Environmentally aware solutions exist with more affordable brands as well, such as H&M’s Conscious Exclusive collection. The collection’s bohemian embroideries and embellishments paired with nude, cream, and navy palettes are made from organic leather and mulberry treecultivated silk (Crotty). It is becoming easier to find these products and make a simple (and fun) step in purchasing eco-friendly clothing. Additionally, by wearing the clothing, we are promoting awareness of sustainable fashion alternatives. In every aspect of life, there are ways to live more sustainably. Quit buying bottled water, plant a garden, carpool, vote for candidates who have environmental concerns, and remember the 3 R’s: reduce, reuse, and recycle. The environment is connected to everything we care about. If we can make the world more efficient, we can make the future of the world more promising. Everything that makes you happy might be compromised if we don’t start to make changes now.
Carly Robb
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instafamous F
ashion is a religion: its Bible, Vogue, and the church, Bergdorf Goodman. But who are the leaders? Who reigns over the religious empire of fashion? In the past, it was undoubtedly fashion editors and creative directors. They were the ones to disseminate the fashion gospel – discerning between the bad, good, and ugly in the realm of fashion – to the general public. Their fashion show reviews, criticism and admiration alike were devoured by fashion fanatics. These visionaries not only contributed to the fashion coverage, but also shaped the way the public thought about fashion. Although still revered, fashion bloggers and celebrities have diluted previous. The new generation of fashion royals has taken over social media and now influence the growing audience on and offline. These fashion bloggers are not only those who actively write about and discuss fashion but also those who share their unique fashion lifestyles through various social media platforms such as Instagram. Omnipresent blogger input is now louder and stronger than that of
an editor-in-chief of a hard-copy publication. Their outfits, fashion show snaps and recaps, weekly favorites, and beloved designers are now what the public holds as sacred. Through an online lens, the current cult of fashion follows the likes of ManRepeller and her whimsical outfits while the substantial stylistic coverage of Vanessa Friedman, chief fashion critic of the New York Times, is often left in the shadows. The army of bloggers is not the only one with a colony of followers. The Jenner sisters and their brat packs, Karlie Kloss and other glamorous off-duty models, as well as idolized celebrity fashionistas like Nicole Richie have completely changed the system by which fashion is disseminated and consumed. Through their use of personal social media accounts, they have started and dispersed trends from coast to coast. The stereotypically compartmentalized blogs: the
LA hip-hop swag, city minimalism, and preppy chic have connected readers in a way that has allowed fashion to become more relatable and accessible. Their success, thus, does not necessarily come from industry history or knowledgeable background but through mastery of self-promotion. Bloggers are now approached for tips on beauty, trends, health, and lifestyle further gaining status as respected industry players. Brands have picked up on this new trend and strategically aligned themselves with these new fashion leaders to gain a greater appeal with mainstream audiences than a good review from a respected critic could ever provide. Last summer’s #mycalvins campaign is
BE a perfect example of using social media influencers. Calvin Klein sent its iconic underwear to numerous individuals including Miranda Kerr, Chiara Ferragni (of The Blonde Salad), and Kendall Jenner, and asked them to post an Instagram photo of themselves in which the branded waistbands were visible. The accompanying hashtag, #mycalvins, went viral – a testament to the immense power of not only social media marketing but also the individual personalities who participated in the campaign. The endorsed celebrity figures personalized the products in a way that showcased their individual personalities and connected with their followers. In reality, it’s a partnership between brands. But what does this mean for fashion going forward? What amount of influence will these bloggers continue to impart in the industry? Publications have continued to maintain the tradition of consumption through print, but the future still remains uncertain. Will the new Anna Wintour, Grace Coddington, Cathy Horyn, and Suzy Menkes, be found amongst the new swarm of bloggers and personalities?
Jennifer Mok 23
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Photographs by CJ Moy Models: Nicole Adams & Matthew Usukumah
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ho determines what is in and what is out? Your source into the trends of today comes from rummaging through the latest Vogue, reading about the hottest new styles or glancing around at people walking on the streets of New York City. But exactly who are these “fashion police� in People Magazine? Who deems the new trend on the runway each season? Who holds the ultimate power to control what is acceptable in how we choose to express ourselves?
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We articulate our own style in many ways, communicating it through the clothes we wear, and as artists, the works we create. But sometimes, there is a gray area when it comes to what is acceptable in the world of art and we notice a difference based on reputation, whether it is a matter of Versace or Van Gogh. Graffiti has developed a “bad name” in this sense mainly because of its past associations with gang violence and other street crimes. For example, when comparing Leonardo Da Vinci’s Mona Lisa hanging in the Louvre of France to Banksy’s political graffiti artwork displayed on the streets of London, which would most people consider to be a higher form of art? Graffiti, an individualistic and expressive form of art usually splayed on the streets or walls of subway stations, is often considered a crime of vandalism. But why is this type of art of less value than other types that hang on the walls of an elite museum? There is no doubt that graffiti is controversial; it is illegal artwork. In fact, less than forty years ago, John Lindsay, mayor of New York, declared an actual war on graffiti, trying to hinder the spread. To his dismay, he could not contain the proliferation of graffiti, as it continues to be a growing trend, actually shifting from the streets to museums. For example, The Museum of Contemporary Art in Los Angeles, California recently released its new exhibition on graffiti artwork called, “Art in The Streets”, glorifying such works of self expression. In Tel Aviv, Israel, graffiti artist Rami Meiri’s exhibit is visited by hundreds each month, praising him for his creative murals located all over the city. The problem is, even if the art created is of the highest caliber, there is still a negative stigma attached to street art. But while critics argue that graffiti takes away from nature’s splendor or dirties the facade of buildings, 26
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others claim that this type of art has the potential to bring inanimate objects to life. Graffiti is expressive of the times, the political climate of the neighborhood and sometimes even a message of love and affection, asking us to contemplate the way we look at the world we live in today. Fashion, like graffiti, is our own form of artwork. In fact, once a fashion trend is tagged as a “miss” instead of a “hit” or labeled as a, “fashion faux pas”, on E! News, it is rarely forgotten with the hopes of never being reincarnated on the runway. If our individual style like that of graffiti artist’s is not necessarily cohesive with the nature of what is popular at the time, does someone of a “higher power” get to tell us we are not “in”? Should we let these high culture ideals dictate our views of art in terms of fashion and other visual artwork? What determines the value of art? The “who” in control of these decisions remains a mystery, so it us up to us and future generations to take the matter into our own hands, on the streets and in our closets.
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Gabby Gottschall
L L E W D E T I U S C
risp, clean, and daring w- we cannot ignore him. His edges are creases in time that convey power and persuade us to listen adoringly. The elaborate spark of design that hides beneath his breast adds mystery to his subtle sex appeal. He is the controller, the influencer, and the wealth of culture and finance. With a slight tousling he is sexy, wild, and bad. He is completely untouchable because he is eternal. He is the suit.
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BE BE And then there was a She. In 1954, Gabrielle Bonheur Chanel liberated woman with her iconic suit. Chanel defied tradition by incorporating tweed, what was typical of English men’s fashion, into her womenswear. Chanel broke conventions by reclaiming the power within men’s fashion and then gifting it to women’s fashion. She maintains femininity in her clothing, finding the balance of masculine and feminine in fashion. The Chanel suit iconic for the pairing of a feminine skirt with a masculine blazer. She is the true source of androgynous style. Androgynous style in Autumn-Winter (AW) 14-15 and Spring-Summer 15 (SS) is crucial to contemporary feminism because once again, designers are reclaiming the suit in large numbers. Contemporary designers are coupling femininity and the suit differently than Chanel did. Beginning with the current AW14-15 season, the oversized wool and loose hanging trousers create a unique shape for the female body. The reclaiming of the suit has led to a dramatic break away from the idealized female silhouette of perfected breasts paired with a thin waist. This change broadens the industrial spectrum of what our society defines as beautiful and feminine. Fashion is ever evolving so it is unfair to say that the AW14-15 trends are unique to this time period, and unjust to claim that no designer has previously thought of straying from the idealistic female shape before. Throughout history there has been a focus on creating what we can now recognize as the “Barbie” shape. For generations numerous brands, in addition to Chanel, have worked against this ideal. Established in 1945 by Parisian Céline Vipiana, Céline created the androgynous style for accessories. The bat winged luggage handbag reproduces the very sense of what Chanel’s suit gave to women for accessories. The outstretched and crisp leather edges powerfully demand attention, while the curved and raised leather on the façade of the bag seduce strangers. The bag is a combination of ideal masculine and feminine traits. Céline in the AW14-15 season is a tribute to the on going revolt against traditional female silhouettes. There is a fantastic play with lose fitting trousers, something we have not seen since the skinny jean phenomenon. There is an army of designers battling alongside Céline during the SS15. The perfected silhouette is forced into submission with floor sweeping coats and full tweed jumpsuits in Karl Lagerfeld’s grocery shop of AW14-15. Elongated shapes dominated the Zimmerman catwalk and Christopher Kane proved double-breasted suits flatter modern woman. The beloved “Barbie” shape is irrelevant this winter. The fashion week craze of September’s SS15 shows gave hope for the continuation of androgynous style. The ever-daring Alexander Wang plays with the proportions of the suit while utilizing crisp edges with a monochromatic palate and subtle detailing. Acne emulates the Céline-esque winter trends with a power suit. Acne’s elongated silhouette emphasizes the stature of the women wearing it. Trussardi’s SS15 introduces a full leather suit that softly reflects light and highlights the subtle curves of the breasts and the legs. There is an inexplicable hierarchy of the daring woman to wear all red, or the coolness of the girl in all blue above all others. Akris-Pre SS15 collection explores the boldness of Trussardi’s full leather suit with its multilayered and varied material suit. How does the power found on the catwalk connect to feminism? As we struggle to make sure that there is no payment gender discrimination with the Fair Pay Act of 2013, an amendment to the Fair Labor Standards Act of 1938, we must continue to embody masculine power motifs in our closets. The reclaiming of the power suit with updated silhouettes that do not sexualize female body is a great start to equalizing the business world.
s Photos courtesey of Style.com
Nicole Adams
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#normcore Misguided or Insighted?
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oung adults litter the streets of lower Manhattan clad in non-descript t-shirts and ill-fitting jeans. To Upper-East Siders who proudly tout their fur vests and heeled designer boots, these folks are merely misguided fashion-wise. They could not possibly be of the same caliber of fashion expertise when what they choose to wear is plain and entirely “normal.” Prominent designers and fashion publications decide what is stylish, right? But could those that consciously evade submitting to fleeting trends be making an even deeper, more powerful fashion statement after all? Many view fashion and appearance as a means of expressing themselves. Whether this translates into wearing designer brands or sporting a bold hairdo, people believe that these physical characteristics reflect an individual’s identity. With every dominant viewpoint there is a countermovement that captures the opinions of people who do not feel the same way as the majority. In the case of fashion and personal style, this countermovement is “Normcore.” Normcore is characterized by people who wear unpretentious and entirely uninteresting clothing. Most of the style consists of t-shirts, hoodies, jeans, and other non-statement pieces. It is commonly believed that Normcore wearers are people without any care for what they put on their body, but this is a misconception. Instead, these people consciously decide to wear things that will not distinguish themselves from others. This trend most likely encompasses a sector of the public’s reaction to the ever-changing, constantly stimulated world of fashion. This movement encompasses an attitude shift in those that embrace superficial sameness instead of always attempting to be aesthetically unique. Jeremy Lewis, founder and editor of Garmeto and freelance stylist and fashion writer, describes Normcore as “a very flat look, conspicuously unpretentious, maybe even endearingly awkward. It’s a lot of cliché style taboos, but it’s not the irony I love, it’s rather practical and nonsense, which to me, right now, seems sexy. I like the idea that one doesn’t need their clothes to make a statement.” This seems like a rather stark remark coming from someone who has devoted his life to exploring fashion in theory and practice. However, in the recognition that Normcore isn’t a rebellion or an attack on those that do make a statement through fashion, it’s easier to comprehend. Normcore is a far more intricate theory than just what one chooses to wear as an outer garment. K Hole, a trend-forecasting group states that Normcore is not just a daily fashion choice but a deep recognition of superficial aesthetics and the inability to be truly “normal”. The trend is regarded as ironic and is not always taken seriously. If you are making a fashion statement to reject fashion, aren’t you still succumbing to the desire to follow a fad? Isn’t dressing in this way just another strand of hipster culture? But, this is only one way of looking at Normcore. The movement was originally created to shift the way people view consumer culture, converse with others, and frankly, the world. It is not a fashion trend but a sociological and theological outlook. Once Normcore is talked about and is investigated to deduce some deeper meaning, it loses its effect.
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confessions of a zaraholic Hello, my name is Nicole Adams and I’m a Zara-holic. Coming from Europe to Bucknell, I consider myself an extreme case. My previous habit of strutting into Oxford Street’s flagship Zara store just hours before a party has transitioned into endlessly perusing the online store and anxiously awaiting oversized packages. Zrada, Zucci, Zéline, Zalenciaga, Zella McCartney, and Zalmain comfort each other in my tightly packed wardrobe. I am certainly not alone; numerous style savvy and fiscally conscious men and women around the globe shop at Zara. The brand is appealing to those who are aware of contemporary trends but wish not to spend copious amounts of money on impulse buys and fleeting fashion. Its success as an intelligent high-street store is accomplished through its innovative fastfashion business model. Much loved big-buck Zara has a father company called Inditex. In 1963, Forbes’ third richest man on the 2013 Billionaires List, Amancio Ortega, began his fashion family with his firstborn Zara in Spain. Since its founding, Inditex has “remained focused on listening closely to its customers to offer them the fashions they desire” 1. The customer is the center of the Inditex business model and “underpins an organizational structure that encompasses all stages of the fashion value chain (design, manufacturing, distribution and sale in proprietary stores)” 1. With a small in store stock, Inditex continuously reinvents their inventory. The Inditex company is the pioneer of fast-fashion and makes “840 million garments a year and has around 5,900 stores in 85 countries”, while avoiding manufacturing too far from Spain 2.
Maintaining close proximity to its headquarters means stronger control of the quality of clothing. Es-
sentially, the company works to maintain a sustainable fast-fashion commerce through the consumer feedback gathered by employees within the stores. Zara and the Inditex family are appealing because,
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unlike luxury brands, they introduce new pieces outside of the traditional fashion seasons (Autumn/wWinter and Spring/ Summer). You can expect to see new pieces every week both in store and online. Zara and luxury brands have had a rough history because of Zara’s runway “inspired” designs. In 2008, Zara faced and defeated the almighty Christian Louboutin in an imitation lawsuit over the red-sole sling back style3. The French Court claimed that the Zara shoes could and would not be confused with the iconic Louboutins. Louboutin paid the price of about 3 pairs of red-soles (£2,000) to Zara as compensation. In the Fendi versus Zara case during July 2014, the Specialized IP Division of the Court of Milan recognized “the injunction in favour of Fendi, finding that the graphic representation of Fendi’s photographs and their commercial exploitation by Zara constituted unlawful competition and copyright infringement of the pictures owned by Fendi.”4 Though Zara has continuously faced lawsuits of a similar matter, it will always deny copying other designers2. Harold Tillman, former chair of the British Fashion Council, remarks that luxury will prevail even with times of universal economic struggle and that he is “a fan of Zara and Primark and what they do. They give everybody the ability and the inspiration to buy something fashionable and then, over a person’s life, they trade up. People always want something better.”5 If the multiple lawsuits Zara has faced or the high-street status leaves you with a bad taste, focus on the remarks from Balmain’s designer: “I think it was Coco Chanel who said if you’re original, be ready to be copied. I love seeing a Zara window with my clothes mixed with a Céline and Proenza!”6 As a college student with an interest in fashion, Zara is an ideal shopping solution for now. Following Tillman’s remarks, I will eventually trade up to validate my later success in life. Nicole Adams 3
NEW STANDARDS
Photographs by Ali Napoli Styling by Jennifer Mok & Brynn Maisel Hair & Makeup by Sarah Rosecky Models: Matthew Deysher, Nicole DiRussa, Meghan Owens, Kim Nidah & Olu Shoyoye
Background Photo by CJ Moy
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Romper: Be Fashion’ Team Glasses, $80: Dwellings: On Nicole: Top & Skirt, Betty’s; Pants, Betty’s. 3
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On Nicole: Booties, DV Dolce Vita. 2
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On Nicole: Top, Dwellings; Pants, Betty’s. On Meghan: Blazer, Zara; Bralette, Anenome. 3
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On Kim: Shorts, Club Monaco. 2 Olu: Sweater, Retrah. On
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3 On Meghan: Jacket, Zara; Leather Shorts, Dwellings.
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Out with the old, in with the...Old Chokers,flannels, overalls, platform shoes- the real question is, am I describing vintage Hillary Duff outfits from the 90’s or the latest Marc Jacobs line? It seems like all the current fashion trends are not really current at all. These days, some trends are as recyclable as plastic bottles. With every season knocking off a past decade, has the high-fashion industry lost its innovative edge? I love a good Chanel runway show, but there is something a little wrong when everyone goes crazy about Karl Lagerfeld pairing sneakers with a dress and calls it a groundbreaking fashion trend. When I think of a real groundbreaking fashion trend, I think of 1996 McQueen. Alexander McQueen shocked runway audiences by introducing a very controversial new kind of pant, the bumsters. These ultra low pants were so effective, they made even the plumber’s crack look cool. It wasn’t long before the low-rise pants took over the world. With McQueen, almost everything was different and fresh. When watching Chanel you expect tweed, when watching McQueen you can’t expect anything. To some it is as if innovative fashion trends have died with the late McQueen. Many people argue that recycling trends is not a bad thing, and in truth it really is ok. There is something nice about being able to pull out your favorite shirt from five years ago—or dig through your mother’s closet—and find clothes that you can re-wear. It gives you a chance to experience different decades in a modern and fun way. The real issue with trend recycling comes when there is a lack of creativity that can cause runway shows to seem repetitive, or even like a knockoff of a past line.
BE Trends cycle and hemlines rise and fall, but there are still a few new up and coming designers that keep us on our toes. Perhaps the easiest example would be Clover Canyon. The rising brand, turned a scuba suit into a great dress with an eclectic print. Rozae Nichols, Colver Canyon’s creative director, has a really unique view of creating designs often pulling from pop culture. Another designer changing the tides of the fashion world is Christopher Kane. If you have noticed an increase of the biology of plants on clothing, you have Kane to thank. Taking his plant theme to the next level, Kane actually used vegetable oil in his latest line. The oil was put inside the trim of his crocheted dresses, which in t u r n causes a lava lamp affect as the models walked down the runway. T h e s e d e s i g n e r s, and many more like them, are going far beyond the everyday trends. While they may still be using trendy hemlines, they are also venturing outside the mainstream forms and concepts. At the end of the day we will always go back to what we know. Birkenstocks will go out of style and we will ask ourselves (again) why we even bought them in the first place. Ten years down the line, they will probably be back on our feet. So goes life. The important thing is to look out for the designers who are changing the landscape of the fashion world and are looking at old trends and putting a fresh spin on them. Whether it is experimenting with new materials or going bold with unique prints or cuts, there are still designers willing to push the envelope.
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A Question of Luxury by Laura Yoo
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ver a century ago, a man by the name of Louis Vuitton founded what would one day become a house of luxury fashion with one simple craft: specialty trunk making. A few years later, Salvatore Ferragamo found success in scientific shoemaking, bringing made-to-measure shoes from Italy to Hollywood. And around the same time, Coco Chanel incited a phenomenon with her timeless idea of a little black dress. What all of these legendary individuals had in common was not the hope of their labels being mass printed worldwide, but to manifest their own visions for fashion through ideals of quality and careful craftsmanship. I suppose this is why their names are still so familiar today – they have created and preserved a heritage of luxury that will remain in history forever. After all, is the luxury industry not the industry for preservation? Perhaps Bernard Arnault, chairman and CEO of the world’s largest luxury conglomerate LVMH (Moët Hennessy Louis Vuitton), puts it best in this brief anecdote: “Steve Jobs once asked me for some advice about retail, but I said, ‘I am not sure at all we are in the same business.’ I don’t know if we will still use Apple products in 25 years, but I am sure we will still be drinking Dom Pérignon.” Modern industries like technology, and even fashion, are based on change; luxury, however, is based on heritage. Arnault’s story may speak truth, but it hardly reflects the reality of the luxury industry today. Luxury fashion in particular has moved away from what it once was: a place where individuals could develop creative visions by surrounding themselves with close-knit families of designers and confidants. Today, labels have found a new home within globally traded corporations including LVMH and Kering. As a result, it’s conceivable that by joining such conglomerates, the focus has shifted largely from a creative to a business one. This corporatization has turned luxury fashion into a giant commodity, compromising both the vision of the designer and quality of production.
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China may have once been associated with the massive output of faux Louis bags that you could find on Canal Street – but today, many prestigious fashion houses are moving legitimate production there as a result of high pressure to keep operating costs low. Miuccia Prada even said herself, “Sooner or later, [Chinese production] will happen to everyone.” How valid then, is your Prada wallet’s “Made in Italy” label? Such a label used to be one of luxury’s greatest leverages, but would a “Made in China” one pale in comparison? It most likely would. There is undoubtedly a stigma that surrounds Chinese manufacturing, as it is commonly associated with cheap labor and low quality. As time progresses, however, China continues to improve the quality of its production and the validity of these claims becomes questionable. Furthermore, are we then expected to believe that, for example, the sheer inception of a trench by Christopher Bailey – albeit its production in Guangdong – is still worth upwards of $800? Bailey is the exception, too. The world is seeing not just the commodification of luxury fashion, but of its designers as well. Designers have become temporary creators behind brands that are forever – disposed of when a newer, fresher name comes around. For instance, Givenchy quickly replaced Alexander McQueen with Riccardo Tisci as head designer after its LVMH acquisition. And beyond being seen as a means, designers are under more pressure than ever, required to churn out eight collections or more per annum. These collections can range from being sold in high-end department stores to discount shops, with collaborations between designers and H&M or Target becoming increasingly popular. This reach into broader markets demonstrates another way by which luxury fashion is beginning to disregard the premises of quality and artistry on which it was built. One may argue that exclusivity is elitist and outdated – but that argument completely counteracts the foundations of luxury, and to put it bluntly, the world of luxury fashion isn’t a socialist one.
In response to this commodification, the world has naturally begun to point fingers, specifically at the aforementioned conglomerates and their executives. Although Arnault has been labeled a “wolf in a cashmere coat,” he is still lobbying to be seen as someone who fosters creativity, not someone who commoditizes it. LVMH as a whole is also attempting to change its group image with projects such as Fondation Louis Vuitton, an art museum built to house LVMH’s impressive contemporary art collection in Paris. Fendi, under LVMH, has recently committed €2 million for the restoration of the Trevi Fountain. Other designers such as Tod’s and Versace are also funding restorations of national landmarks in their home nations. The goal of such donations is a long-term one: to create an association between the brand and historic masterpieces, both of which will outlive any executive. While such efforts are admirable, they cannot stop the corporate direction in which the industry is moving. Take Robert Polet, president of Kering’s Gucci Group from 2004-11. Polet, also known as the “ice-cream man” entered Gucci straight from Unilever’s frozen foods division. As silly as it may seem, there is logic in such change: executives no longer need to be handson with mastery of the brand heritage, they must simply understand the global marketplace. The commodification of luxury goes far beyond just greedy CEOs; it’s a reflection of globalization and fast-paced nature of the modern world. Sad as it may be, the convergence of luxury and the corporate world was inevitable and has become a necessary evil. Survival in this industry today calls for not just a creative mind, but also a business one. What this means for the future of luxury fashion remains a mystery. Certainly people will continue to buy, but will the prestige and craftsmanship of industry icons simply become a thing of the past? I suppose we will just have to wait and see.
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sources
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The Buzz: datterindustries.com/products/arch-needles-necklace-silver; en.wikipedia.org/wiki/Gone_ Girl_%28film%29; www.refinery29.com/2014/01/61458/girl-boss-cover; www.urbanoutfitters.com/urban/catalog/ productdetail.jsp?id=31030711&parentid=SEARCH+RESULTS#/; www.urbanoutfitters.com/urban/catalog/ productdetail.jsp?id=31754682&parentid=SEARCH+RESULTS#/; weblogforlove.com/2014/08/normcore-nothinglike-grunge/; streetstylebook.com/normcore-wtf-2/ EcoCouture: www.dmarge.com/2014/08/g-star-raw-ocean-campaign-pharrell.html; www.thetrendspotter. net/2014/06/g-star-x-bionic-yarn-x-pharrell-williams.html; us.fashionmag.com Instafamous: Instagrams: @ManRepeller; @kyliejenner; @kendalljener; @nicolerichie; @mirandakerr Normcore: www.veckorevyn.com (90210) Zara: Photos: zara.com; style.com; acnestudios.com 1. www.inditex.com/en/our_group/at_glance 2. www.nytimes.com/2012/11/11/magazine/how-zara-grew-into-the-worlds-largest-fashion-retailer. html?pagewanted=all 3. www.thefashionlaw.com/louboutin-v-zara-battle-of-the-soles/ 4. www.martinimanna.com/unfair-competition-copyright-court-milan-fendi-zara/ 5. www.vogue.co.uk/news/2010/05/26/harold-tillman-on-luxury-fashion 6. wwww.vogue.co.uk/news/2014/07/28/olivier-rousteing-on-zara-copies-and-rihanna-the-new-naomi Out with the old: MTV.com; manrepeller.com; clovercanyon.com A Question of Luxury: For the Wolf of Luxury, a Chance to Be a Lamb (NYTimes), Dirty Pretty Things (NYTimes), Prada is Making Fashion in China (Wall Street Journal); Photos: Douglas Kirkland; www.lepoint.fr/economie/lvmh-preparait-bienune-prise-de-controle-d-hermes-18-05-2013-1669617_28.php
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New Standards: Black Dwellings Leather Shorts ($42), White Betty’s Top ($24), Black Betty’s Skirt ($80), Black Dwellings Knit Top ($29), Retrah Tan Sweater ($295).
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